IntroductionI’m
not generally an early adopter of most new technologies. Usually, I
prefer to wait for “the latest and greatest” to mature a generation or
so. It's only been in the last couple of years that I've developed a
strong interest in pursuing the current high-resolution digital audio
formats. This hasn’t been due to a lack of inquisitiveness regarding
the performance enhancements of these technologies, but rather to a
scarcity of compelling source material. However, with the increasing
availability of greater options in high-definition playback equipment,
substantial increases in titles and a broader genre of music, I have
begun eagerly pursuing these new formats and the improvements they
offer. With a theoretical frequency response from DC to 100kHz and a
potential dynamic range greater than 120dB, these new high-definition
formats have the ability to reproduce the music with the highest degree
of realism, resolution and detail. Needles to say, when I was offered
an opportunity to evaluate the Shanling SCD-T200 Level-1 SACD/CD
player, I greeted it with great interest and enthusiasm.

The sole distributor of the solid-state and vacuum tube hybrid Shanling
SCD-T200 Level-1 SACD/CD modified player is Walter Liederman of
Underwood Hifi. Using a stock SCD-T200 player manufactured by Shenzen
SHANLING Electronic Co., Ltd. of China, the Level-1 Mod incorporates a
multitude of key improvements. The player is made available via
collaboration between Chris Johnson’s Parts ConneXion, which designs
and completes the modifications, and Shanling’s importer, Music Hall,
which provides the stock players and authorizes the Level-1
modifications. This highly customized Shanling is priced at $3,490,
excluding shipping, and is covered under a full one-year factory
warranty backed by Music Hall.

DescriptionThe
graceful incorporation of dissimilar metal finishes and colors,
circular glass vacuum tubes protectors, softly contoured transformer
covers and the clear plexiglass lift-top disc loader all contribute to
this player’s striking character. Accented with small amounts of gold
trim and many interesting architectural features, the SCD-T200 could be
a candidate for the Guggenheim. From its sexy high-tech appearance to
the glowing amber color of the retro vacuum tubes and elegant, tasteful
use of cobalt blue accent lighting, this component is extraordinary
from every vantage point. During my audition, it was interesting and
entertaining to hear the assorted descriptions bestowed upon the
Shanling SCD-T200 Level-1 by all who viewed it.

Functionally,
all the controls are laid out in a sensible and easy to access manner,
elegantly integrated into the aesthetics of the player. All of the
controls for the SCD-T200 are located on the top face, arrayed on both
sides of the front panel display. Five metal buttons allow play/pause,
stop, forward and backward track skip, and CD/SACD selection. Each of
these functions is repeated, along with volume and muting buttons, on
the beautifully machined and ultra-classy remote control. I found the
inclusion of an extremely high-quality volume control very useful for
configuring minimal systems, allowing direct connection to a power
amplifier. The right side panel contains the tube-amplified,
gold-plated headphone jack and the main power switch. Occupying the
rear panel are two RCA unbalanced outputs for the vacuum tube stage,
two RCA unbalanced outputs for the solid-state stage, one coaxial
digital output terminal and a electrical receptor to connect the
premium quality detachable power cord. Rounding out the accessories is
a set of high-quality, machined isolation feet with footers for
protecting finished surfaces. Both sets of unbalanced outputs, along
with the headphone jack, are attenuated by a high-precision digitally
controlled analog volume control. Overall dimensions are 20.9 inches
wide by 15 inches deep by 8.25 inches high, at a total weight of 25
pounds.

The
Level-1’s modification begins with the stock SCD-T200, which features a
number of high-quality components, including the latest Sony KWM-234AAA
drive, a Sony CXD2752R SACD decoding chip and a Burr-Brown PCM1738 24
bit/192 kHz DAC custom-made for SACD. Proceeding with the
transformation, an extensive design and parts renovation of the stock
Shanling vacuum tube and other solid-state (direct) outputs commences.
In both output stages, various critical path and coupling capacitors
and signal-path resistors are upgraded, and DH Labs 99.99% pure silver
Teflon tape wrap jacketed solid core wire is added. The vacuum stage
output tubes are swapped for a pair of Western Electric 396a devices.
Concurrently, the solid-state stage modifications include two added
custom adaptor PC boards featuring Burr-Brown OPA627 op amps for the
main output buffer. The power supply receives not only various
capacitor upgrades, but also two huge, additional 150uF 350V Black Gate
VK series capacitors and 13 semiconductor changes. TRT silver-content
Wonder Solder is used for all modifications. Finally, the internal
chassis receives two sheets of Soundcoat damping to reduce potential
mechanical resonance and feedback.

Set-upAs
you can imagine, the effort required to set up the SCD-T200 was
basically nonexistent. While in the midst of reconfiguring my reference
system, I decided to connect the Shanling directly, using two different
amplifiers I had on hand, the Pass Laboratories X150.5 and the Lexicon
LX-7. Positioned on a small equipment rack placed between my Revel
Salons, total placement and connection of the Shanling took a whopping
five minutes maximum. This simple exercise was a welcome experience
after spending the last year assembling and configuring a multitude of
surround sound processors and multi-channel speaker systems, each
taking a substantial amount of set-up time.

I did
experience one operational glitch with the first sample player sent for
my review. The unit had difficulty accessing certain tracks and was
unable to recognize several of my CDs and CD-Rs upon start-up. I
discussed this issue with Walter Liederman and he concurred that there
had been a problem with some of the first released units. I was
immediately sent a second unit and was told that the problems had been
addressed. The replacement player sounded identical to the first, but
exhibited none of the operational mishaps.MusicDuring
my audition of the Shanling SCD-T200 Level-1, I spent a significant
amount of time going back and forth between the vacuum tube and
solid-state outputs. The information provided by Liederman discusses
the merits of both options, listing the solid-state as the more
accurate interpreter, with the vacuum tubes providing a lusher midrange
and a complementary euphonic presentation for poor recordings.
Listening to a wide variety of SACDs and Redbook CDs, I found that with
my amplifier and speaker combination, I consistently preferred the
solid-state stage to the vacuum tube output. There was a greater degree
of articulation when listening through the solid-state output, with no
loss of midrange presence or purity. The vacuum tube section seemed to
soften both extremes, which did not complement my current set-up. The
following observations, unless otherwise noted, are representative of
my listening experiences using the solid-state output only. I recommend
anyone interested in the Shanling audition both outputs to see what
suits your system best. The great thing about this player is that you
can choose your preference with every disc you play as both outputs can
be run to your preamp at the same time.

Relaxing
to the SACD version of Diana Krall's The Look of Love (Verve/Universal)
proved to be a very blissful, tranquil experience through the Shanling
SCD-T200 Level-1. Produced by Tommy LiPuma with the enchanting
orchestral arrangements of Claus Ogerman and the London Symphony
Orchestra, this recording is a departure from Krall’s core style.
Stepping away from the intimacy of her usual small group ensemble, the
trio infuses a tasteful dose of orchestral support surrounding Krall’s
seductive, whispery vocals. During a soul-stirring rendition of Burt
Bacharach’s “The Look of Love,” Krall’s performance is mesmerizing
through the Shanling; its ability to put forth her distinctive sultry
voice is captured with a liquidity that is transparent and pure.
Krall's impassioned "Cry Me a River" is conveyed in a lush, relaxing
portrayal through the Shanling, delineating each element of the
recording with a realism and ease that captivated my intellect and
emotions. The Shanling creates an extremely effortless perspective into
the capabilities of this high-resolution media.

For
almost three decades, I have been buying different iterations of Pink
Floyd’s musical masterpiece Dark Side of The Moon (EMI), including a
variety of high-quality vinyl and CD releases. Spinning the re-mastered
high-definition SACD version through the Shanling was like taking a
walk down memory lane with binoculars. The improvement in musical
contrast, shading and detail presented through the SCD-T200 was quite
astonishing. I found myself completely entranced by the Shanling’s
presentation of “Time,” mesmerized by the mechanical medley of clocks,
chimes and bells as they soared toward their crashing crescendo.
Equally interesting was the beginning segue into “Money,” its opening
sliding cash register drawers slamming and clanging in a most
convincing manner. Throughout the cut, bass lines were extremely
delineated, making them easy to follow as they underscored this classic
track. Playing this high-definition disc through the Shanling kept me
engrossed, providing the most satisfying listening experience I've had
with Dark Side of The Moon to date. As stunning as this disc sounded
through the modified SCD-T200, I could only wonder what it might have
been like to utilize the SACD 5.1 surround sound track that lay lurking
within this disc.

Stepping
away from SACD to conventional CDs, I was pleasantly surprised at how
well the Shanling reproduced the 16-bit/44.1kHhz format. Redbook discs
were rendered with an extremely smooth, extended high-frequency
response, maintaining that palpable midrange I enjoyed during my
sessions with various SACDs. These attributes were aptly evident while
listening to The Pretenders’ The Isle of View (Warner), a perennial
favorite of mine. Recorded with the Duke Quartet in front of a live
studio audience, Chrissie Hynde and the current band set aside their
harder punk edge to assemble a collage of their more intellectual,
emotional and reflective songs. Hynde’s vocals are the focus here and
the Shanling reproduced the depth and subtlety of her performances
magnificently, possibly the best I’ve ever heard from this recording.
"Chill Factor,” Hynde’s ode to her tumultuous relationship with Kinks’
lead man Ray Davies, was served well by the SCD-T200, convincingly
capturing every fluctuation in Hynde’s voice. One predominant attribute
of the Shanling is its ability to accurately replicate the attack and
decay of various string and percussive instruments, each abundant
throughout this richly layered album. Void of all amplification,
"Private Life" was reincarnated with impressive power, punch and speed.
This is a common trait of the Shanling when playing back both Redbook
CDs and SACDs.

The DownsideIn
today’s multi-format, multi-media world, the Shanling’s main limitation
is its ability to play two-channel SACD, HDCDs and standard CDs only.
Unfortunately, this means the Shanling cannot take advantage of SACD
discs that are encoded with multi-channel soundtracks, which are
becoming much more prevalent with new releases.

Additionally,
with a plethora of Universal Disc players hitting the market, the
Shanling lacks the ability to play the other current competing
hi-resolution format, DVD-Audio. Furthermore, the start-up time to
initiate and play a disc is extremely slow relative to most players
I’ve recently experienced but is typical of most SACD players in
general.

ConclusionTo say that
the Shanling SCD-T200 Level-1 player was attractive would be a massive
understatement. With its high-tech appearance, utilization of superior
parts and materials, exquisite attention fit and finish, the Shanling
is simply a stunning piece of artwork. It commanded attention from
everyone who was within eyesight of this component, but this would be
irrelevant without its stellar performance to match its aesthetics.
With both SACDs and Redbook CDs, the SCD-T200 is a reference quality
performer. SACDs simply sound awesome, lending the music a sense of
realism and palpability that is enthralling. On conventional CDs, the
performance is equally if not more impressive, considering the confines
of the format. The Shanling’s ability to extract the most out of a
16bit/44.1kHz source is extraordinary, giving new life to much of my CD
collection. The SCD-T200 also gives the user welcome flexibility with
two output stages, vacuum tube and solid-state, each with its own
strengths and characteristics. By utilizing the volume control on the
excellent remote, I was able to obtain world-class performance by
directly connecting the player to a stereo amplifier. Its sonic
strengths are many, with the only major caveat being that you are
unable to play multi-channel SACDs or any DVD-Audio discs. For those
who are normally wary of purchasing modified electronics, rest assured
that this is a covered by a 1 year factory warranty mod with a one-year
warranty. And though it may not accommodate every silver disc you own,
what it does play is extremely satisfying and fulfilling. This player’s
superior performance, combined with its stellar appearance, is an
absolute knockout. Coupling this with undeniable pride of ownership,
the Shanling SCD-T200 Level-1 SACD/CD player is a worthy candidate for
anyone seeking to assemble the ultimate two-channel SACD/CD playback
system.